1290:
1207:). He is astonished when Dardanus arrives; after all, this is the realm of Teucer and thus enemy territory. However, as a priest of Jupiter, Isménor promises to be a faithful friend to the god's son. Dardanus tells him he is in love with Iphise. The magician conjures up spirits and gives Dardanus his magic wand: it will enable him to appear before Iphise in the form of Isménor. Dardanus uses the spell just before Iphise arrives. Thinking she is speaking to Isménor, Iphise confesses she is in love with Dardanus. Dardanus can no longer resist and reassumes his true form. Iphise despairs of their love ever being happy and runs off. Music representing the noise of battle serves as a transition between Act 2 and Act 3.
1301:. Isménor magically appears in the cell and advises Dardanus to pray to Cupid for help. Cupid promises to free Dardanus providing whoever comes to rescue him will sacrifice their life in his stead. Dardanus rejects such terms and when Iphise comes to liberate him he refuses to leave his cell. Anténor arrives and reveals he has freed Dardanus' soldiers to create confusion to allow him to murder Dardanus. Now full of remorse and mortally wounded by the soldiers, he repents the plot and dies. The sacrifice necessary for Dardanus' liberation has been made and he and Iphise are free to leave.
60:
2649:
1187:, Iphise laments that she is in love with Dardanus, the deadly enemy of her father Teucer, King of the Phrygians. Teucer declares the Phrygians will soon be victorious over Dardanus as he has just sealed an alliance with Prince Anténor. In return, he has promised Iphise to Anténor in marriage. Iphise is not so sure they will defeat Dardanus, the son of the supreme god
181:, who has promised to marry his daughter Iphise to King Anténor. Dardanus and Iphise meet through the intervention of the magician Isménor and fall in love. Dardanus attacks a monster ravaging Teucer's kingdom, saving the life of Anténor who is attempting, unsuccessfully, to kill it. Teucer and Dardanus make peace, the latter marrying Iphise.
1256:), but the king has his doubts. The arrival of Dardanus confirms the true identity of the dragon-slayer. Anténor asks Teucer to allow Dardanus to marry Iphise. The king hesitates until Venus descends from the skies, bringing with her Hymen (god of marriage) and Peace. Iphise and Dardanus sing the duet
1170:
Cupid and the Graces sing and dance for Venus until
Jealousy with her Troubles and Suspicions disrupts the celebrations. Venus orders her followers to bind Jealousy in chains, but freed from Troubles and Suspicions Cupid and his entourage fall asleep and Jealousy is needed to revive them. Venus then
611:
bassoons and "clashing sevenths and ninths" which produce an "excruciating harshness." The 18th-century music critic Pierre-Louis D'Aquin de Châteaulyon saw that the piece was instrumentally, not vocally, conceived and represented a break with the aesthetics of Lully: "Take away the words, and the
532:
for the quality and variety of its music and Graham Sadler has described the 1739 version as, "in musical terms", "without doubt one of Rameau's most inspired creations." These comments echo 18th-century reviewers who remarked that "the work was so stuffed with music that for three whole hours no
1309:
Dardanus has captured Teucer. He offers him his throne back in return for Iphise's hand in marriage, but the old king still refuses. In despair, Dardanus hands Teucer his sword and asks him to kill him. Teucer is moved by
Dardanus' magnanimity and relents. The act ends with Venus descending to
277:, not for the quality of its verse, but for its dramatic incoherence. They accused La Bruère of stringing together a series of spectacular scenes - magical incantations, a dream sequence, the appearance of a monster - without any regard for dramatic logic and thus creating a hybrid between
389:. The final three acts were completely rewritten. The revised version has a simpler plot, fewer supernatural features and a greater focus on the emotional conflicts of the main characters. It premiered at the Paris Opéra on 23 April 1744.
153:
on 19 November 1739 to mixed success, mainly because of the dramatic weakness of the libretto. This caused Rameau and La Bruère to rework the opera, completely rewriting the last three acts, for a revival in 1744. Only when
612:
music no less expresses the accents of suffering and the rigours of a cruel prison. You can change nothing, add nothing, everything is in its place. This is genuine music. The old music was nothing but a shadow of this."
540:
in the 1739 version (Isménor's magic, the dream scene and the monster), though weakening the drama, provided Rameau with the ideal opportunity to show his musical imagination. Act 2 has a magical ceremony including the
1280:
Dardanus has been taken captive in battle. A mob of
Phrygians bays for his blood. The jealous Anténor plots with his follower Arcas to kill his rival Dardanus surreptitiously so he can win Iphise's hand at last.
1235:
Venus rescues
Dardanus in her flying chariot. She takes him to the seashore where three Dreams lull him to sleep then rouse him to fight the monster which is ravaging the coast. Anténor confronts the dragon
1705:
Girdlestone, p. 236. The printed score claims it was 17 April, but the printed libretto claims 21 April. Girdlestone writes that the performance was delayed until 23 April for "reasons we do not know".
1223:). Anténor learns that Iphise loves Dardanus not him. The Phrygians celebrate their victory, but the festival is soon interrupted by a furious dragon sent by Neptune. Anténor vows to kill the monster.
287:, a lighter genre in which connection between the acts was of little importance. The drama of two lovers divided because they came from warring nations also resembled the plots of two recent
1823:
1848:
Girdlestone, p. 237; Sadler (1993), p. 837; Sylvie
Bouissou, p. 521: " belongs to the great Rameau works which deserve incontestably to figure regularly in the Baroque repertoire."
2621:
392:
The 1744 version attracted little notice until it was revived again on 15 April 1760. This time audiences acclaimed it as one of Rameau's greatest works. The cast included
1839:
For example, Girdlestone, p. 237 (on the second version): "As a play it is without an atom of interest."; Sadler (1980), p. 259: " suffers from an inept and puerile plot."
556:
with one note per syllable. The dream sequence, in which the sleeping hero has a vision, had precedents in earlier French
Baroque operas where it was called a
1757:
329:
premiered on 19 November 1739 and ran for 26 performances. This meant it was not a great success but neither was it the outright failure for which the
2701:
269:
by
Leclerc de La Bruère instead. La Bruère was only 23 but he had already written four opera libretti, although none were as lengthy or weighty as
465:
457:
conducted a series of concert performances in
Grenoble, Caen, Rennes and Lyon which formed the basis of a Deutsche Grammophon recording in 2000.
2275:
2652:
2307:
2696:
2404:
265:
had been considered as the librettist for the new opera but he did not have a finished text to hand and so he may have suggested using
1727:(Pro/Am Music Resources, 1993). p. 138 ff. Leppard refers to the whole affair as "one of the most miserable experiences of my career".
2240:
2676:
136:
73:
2295:
2170:
2076:
1951:, p. 219, quoted by Bouissou, p.512; Girdlestone similarly writes of the instrumental conception of the music, pp. 264-266
2300:
1191:, but the Phrygian people celebrate their predicted triumph anyway. Iphise decides to ask the magician Isménor for help.
1289:
408:. It was revived again in 1768 and 1771 with modifications to the libretto by Nicolas-René Joliveau and to the score by
2268:
2236:
548:, in which Isménor stops the course of the sun, dances for infernal spirits, and a menacing chorus for the magicians,
215:
in the late 17th century. Yet they could not dissuade the Paris Opéra from offering Rameau commissions for new works.
2224:
2584:
2681:
1249:
Scene: Teucer's palace in the background; on one side, the town is visible; on the other, countryside and the sea.
302:
2671:
2603:
1533:
Erato (reissued on 2 CDs in 1994), blend of 1739 and 1744 versions with cuts including the whole of the prologue
211:- were conservatives who accused him of destroying the French operatic tradition established by Lully under King
1510:
1240:) but has to be rescued by Dardanus, who kills the monster. Dardanus does not yet reveal who he is to Anténor.
1041:
497:
333:
had hoped. Rameau and La Bruère responded to criticism by making alterations to the work during its first run.
17:
1219:
The
Phrygians have defeated Dardanus in battle and taken him captive, leading Iphise to lament his fate (Aria:
2261:
292:
1761:
489:
2628:
453:
conducted his own hybrid version of the 1739 and 1744 scores at the Paris Opéra. Finally in 1997 and 1998,
315:
suffers in comparison with these models, lacking their dramatic intensity and genuinely tragic endings (in
2151:
1990:
520:
Modern critics have generally agreed with the complaints of Rameau's contemporaries about the weakness of
413:
201:
had become ever more embittered. Rameau's stage music had been controversial since his debut in 1733 with
2420:
1799:
484:
in 2006. In France it was revived again in
October–November 2009, at Lille, Caen and Dijon, conducted by
354:
2348:
2055:"Dardanus, RCT 35, Act I Scene 1 (Revised 1744 Version) : Cesse, cruel Amour, de régner sur mon..."
238:
596:
rated it as one of Rameau's "most sustained tone-pictures, worthy of comparison with the earthquake in
401:
369:, Rameau wrote no new operas but made minor revisions to two of his old scores for fresh performances,
2492:
893:
Retinue of Venus and Cupid, Sports and Pleasures, retinue of Jealousy, people, warriors, magicians,
2484:
712:
2380:
1180:
Scene: A place full of mausoleums commemorating Phrygian warriors who have died fighting Dardanus.
261:, so that he must have completed it in five months or less. There is some evidence that initially
2364:
2063:
1110:
461:
59:
1014:
564:(sections of instrumental music) to evoke an hypnotic state, "at once an inducement to sleep, a
2388:
473:
382:
162:
91:
2396:
2187:, Milano, Baldini Castoldi Dalai, 2007, pp. 289–290, ISBN 978-88-6073- 184-5 (in Italian)
2144:
Bibliothèque Musicale du Théatre de l'Opéra. Catalogue Historique, Chronologique, Anecdotique
141:
47:
2635:
2517:
1522:
505:
2577:
397:
2691:
2284:
2108:
1455:
593:
570:
and an impression of sleep." The sea monster comes from a tradition beginning with Lully's
525:
409:
346:
197:
appeared at a time when the quarrel between Rameau's supporters and those of the operas of
128:
51:
2460:
1929:
Sylvie Bouissou goes so far as to claim this aria alone "would immortalise Rameau", p. 512
1758:"Dardanus: Wolf Trap Opera Company – Chuck Hudson, Stage Director: Opera-Theatre-Musicals"
1374:
Deutsche Grammophon Archiv (2 CDs), 1739 version with a few additions from 1744 including
468:
in suburban Virginia. The opera was also produced in Sydney in November–December 2005, by
342:
8:
2324:
1506:
1188:
422:
212:
203:
198:
31:
2139:
1394:
ABC Classics (2 CDs); 1739 version, minus prologue, plus some music from the 1744 score
231:
in 1737. In 1739 the Opéra commissioned Rameau to write not one but two new scores, the
2332:
524:
as drama but, musically, they have viewed it as one of the composer's richest scores.
221:
2468:
2040:
1460:
1260:. Cupids and Pleasures dance in celebration and the opera concludes with a monumental
707:
688:
603:
Perhaps the most notable new music in the 1744 version is Dardanus' prison monologue,
485:
437:
was produced a handful of times in the 20th century: in a concert version 1907 at the
2428:
2220:
2166:
1363:
1351:
2558:
1440:
1355:
572:
493:
442:
2340:
417:
227:
170:
1434:
158:
was again performed in 1760 did it win acclaim as one of Rameau's greatest works.
2686:
1527:
1388:, Kathryn McCusker, Paul Whelan, Stephen Bennett, Damian Whiteley, Penelope Mills
450:
438:
297:
2509:
2041:"JEAN-PHILIPPE RAMEAU Dardanus. Purcell Choir, Orfeo Orchestra, György Vashegyi"
1518:
283:
233:
2542:
1827:
1575:
1368:
1359:
1138:
509:
501:
469:
454:
393:
2054:
992:
150:
2665:
2550:
2476:
2193:
1978:
725:
412:. Thereafter, it disappeared from the stage until the 20th century, although
2501:
2452:
2212:
683:
1454:
Judith van Wanroij, Chantal Santon Jeffery, Cyrille Dubois, Thomas Dolie,
560:. Rameau produces a succession of arias, dances, trios for the Dreams and
30:
This article is about the opera by Rameau. For the opera by Sacchini, see
1514:
1146:
178:
112:
2245:
2165:(I, pp. 1077–79), Grove (Oxford University Press), New York, 1997 (
1725:
Raymond Leppard on Music: An Anthology of Critical and Personal Writings
2533:
2253:
1582:
1385:
542:
2525:
2444:
2204:
2115:(originally published 1957; revised edition published by Dover, 1969)
1106:
894:
652:
608:
589:
553:
2372:
1063:
Mlle Dallemand, Messieurs Hamoche, Lafeuillade, Levoir and de Visse
576:
in 1682. Rameau had included a similar episode in the fourth act of
504:. The first performance in England of the 1744 version was given by
323:
the lover of the title character's daughter is struck down by God).
307:
1261:
566:
262:
132:
2091:
Philippe Beaussant, booklet notes to the Alpha audio recording of
607:, one of Rameau's most famous arias. It is in sombre F minor with
2058:
1578:, Nahuel de Pierro (sings both Isménor and Teucer), Karina Gauvin
1530:, Chorus and Orchestra of Le Théâtre National de l'Opéra de Paris
1164:
1134:
1130:
1126:
1114:
1017:, Matignon, Mlles Le Breton and Barbarine (Sports and Pleasures)
644:
446:
311:(1732). Yet, according to the Rameau specialist Sylvie Bouissou,
2436:
2412:
1272:
The prologue and Acts 1 and 2 are the same as the 1739 version.
1232:
Scene: The seashore, with traces of the ravages of the monster.
481:
1437:, Benoît Arnould, Alain Buet, João Fernandes, Sabine Devieilhe
246:. This could only inflame the controversy and there were many
1142:
1118:
660:
1044:, Mlles Rabon, Carville, Erny, Fremicourt, Dary and Puvigné
253:
It is likely that Rameau did not start work on the music of
1122:
500:, a production published on video in the following year by
174:
166:
1472:
938:
L. Javillier (a warrior), L. Dallemand (a Phrygian woman)
2122:(first published 1980; paperback edition Macmillan, 1986)
1800:"The world's leading classical music channel - medici.tv"
1200:
Scene: A solitary place, with a temple in the background.
1203:
Isménor sings of his power to foresee the future (Aria:
464:
directed by Chuck Hudson, was given in July 2003 at the
1391:
Antony Walker, Cantillation, Orchestra of the Antipodes
972:
L. Maltaire and Mlle Mariette (Phrygian man and woman)
588:, the musical representation of a storm, using broken
2622:
Traité de l'harmonie réduite à ses principes naturels
184:
441:
in Paris on 26 April and later the same year at the
381:, thoroughly overhauling the drama with the help of
2146:, Paris, Librairie des bibliophiles, 1878, Tome I,
1723:See Leppard's own account of the failed revival in
1554:Dardanus, Iphise, Anténor, Teucer, Isménor, Vénus)
1333:Dardanus, Iphise, Anténor, Teucer, Isménor, Vénus)
1297:In prison, the despairing Dardanus sings the aria
488:and staged by Claude Buchvald. In April 2015, the
377:in 1743. In 1744 Rameau and La Bruère returned to
177:. However, in the opera, Dardanus is at war with
2150:, pp. 191–92 (accessible online for free in
1252:The people think Anténor has saved them (Chorus:
649:Mlle Erémans (also spelled Erremans or Herémans)
2663:
2183:, in Gelli, Piero & Poletti, Filippo (ed.),
533:one in the orchestra had time even to sneeze."
466:Wolf Trap National Park for the Performing Arts
161:The original story is loosely based on that of
1760:. Chdirector.com. 18 July 2003. Archived from
1310:celebrate the wedding of Dardanus and Iphise.
2269:
365:For the next few years after the premiere of
357:(uncertain date, some time in 1739 or 1740).
1487:Dardanus, Iphise, Anténor, Teucer, Isménor)
1415:Dardanus, Iphise, Anténor, Teucer, Isménor)
767:Claude-Louis-Dominique de Chassé de Chinais
733:Claude-Louis-Dominique de Chassé de Chinais
669:Mlle Bourbonnais (also spelled Bourbonnois)
2103:Jean-Philippe Rameau: Musicien des Lumières
1171:prepares to present the story of Dardanus.
460:The American professional premiere, by the
2276:
2262:
1267:
1152:
58:
2241:International Music Score Library Project
2118:Graham Sadler, "Jean-Philippe Rameau" in
1362:, Russell Smythe, Jean-Philippe Courtis,
1185:Cesse, cruel Amour, de régner sur mon âme
1090:Mlles Le Breton, Frémicourt and Courcelle
404:'s famous etchings of imaginary prisons,
2702:Opera world premieres at the Paris Opera
2283:
2113:Jean-Philippe Rameau: His Life and Works
1288:
472:and the Orchestra of the Antipodes. The
396:as Iphise. The set designs in Act 4, by
1539:
1473:Audio (blend of 1739 and 1744 versions)
1400:
1318:
730:François Le Page (also spelled Lepage)
14:
2664:
2257:
2120:The New Grove: French Baroque Masters
2066:from the original on 5 December 2021.
1574:Reinoud van Mechelen, Gaëlle Arquez,
584:he blends the monster's music with a
337:was soon the target of two parodies:
2077:Dardanus (Raymond Leppard recording)
1581:Raphaël Pichon, Ensemble Pygmalion,
1216:Scene: A gallery in Teucer's palace.
1205:Tout l'avenir est présent à mes yeux
137:Charles-Antoine Leclerc de La Bruère
74:Charles-Antoine Leclerc de La Bruère
2697:Operas based on classical mythology
1587:Harmonia Mundi (1 DVD + 1 Blu-Ray)
1238:Monstre affreux, monstre redoutable
941:Dumoulin, Monservin, Mlle Carville
24:
2405:Les fĂŞtes de l'Hymen et de l'Amour
2133:, ed. Amanda Holden (Viking, 1993)
2019:Dictionnaire des théatres de Paris
1100:
496:performed the 1739 version in the
492:with the Ensemble Pygmalion under
429:
416:reworked La Bruère's libretto for
385:, who had been the librettist for
273:. From the start critics attacked
185:Background and performance history
27:1739 opera by Jean-Philippe Rameau
25:
2713:
2230:
2163:The New Grove Dictionary of Opera
1830:website, accessed 6 October 2017.
1258:Des biens que VĂ©nus nous dispense
319:the heroine kills herself and in
242:, which premiered on 21 May, and
2648:
2647:
1463:, Purcell Choir, Orfeo Orchestra
536:The three major examples of the
360:
207:. His opponents - the so-called
189:
2070:
2047:
2033:
2024:
2021:(Paris, 1756), Volume II, p.252
2012:
2000:
1997:, both accessed 5 February 2011
1983:
1967:
1954:
1949:Siècle littéraraire de Louis XV
1941:
1932:
1923:
1914:
1905:
1896:
1887:
1878:
1869:
1860:
1851:
1842:
1833:
1817:
1792:
1776:
1750:
1741:
1730:
1717:
1708:
1699:
1690:
1681:
445:. In 1934, it was performed in
2677:Operas by Jean-Philippe Rameau
2585:Pièces de clavecin en concerts
2217:The Oxford Dictionary of Opera
2195:Le magazine de l'opéra baroque
2007:Le magazine de l'opéra baroque
1995:Le magazine de l'opéra baroque
1672:
1663:
1654:
1645:
1636:
1627:
1618:
1609:
1600:
1054:Spirits in Isménor's entourage
1010:Sports and Pleasures, Charites
958:Maltaire, Monservin, Matignon
546:Suspends ta brillante carrière
13:
1:
1747:See list of recordings below.
1593:
1313:
145:in a prologue and five acts.
2629:New System of Musical Theory
257:until after the premiere of
7:
2161:, in Sadie, Stanley (ed.),
1977:parts are indicated as for
1737:Magazine de l'opéra baroque
1157:
355:Jean-Baptiste-Louis Gresset
10:
2718:
2537:(unfinished, date unknown)
2185:Dizionario dell'Opera 2008
2125:Graham Sadler, article on
2085:
1304:
1284:
1275:
679:son of Electra and Jupiter
552:, which is almost totally
490:Opéra National de Bordeaux
250:eager to see Rameau fail.
102:19 November 1739
29:
2645:
2613:
2595:
2569:
2316:
2291:
2249:: libretto (1760 version)
2237:Dardanus (complete score)
1371:, Les Musiciens du Louvre
1163:Scene: Cupid's palace on
955:C. Maltaire (a magician)
908:
892:
713:Cathérine-Nicole Le Maure
508:on 6 October 2017 at the
498:Grand Théâtre de Bordeaux
414:Nicolas-François Guillard
139:. It takes the form of a
97:
87:
79:
69:
57:
46:
41:
2421:Les surprises de l'Amour
1947:D'Aquin de Châteaulyon,
1902:Girdlestone, pp. 255-257
1884:Girdlestone, pp. 245-247
1552:(in the following order:
1485:(in the following order:
1413:(in the following order:
1331:(in the following order:
1243:
1226:
1210:
1194:
1174:
781:role not in 1739 version
615:
515:
2365:La princesse de Navarre
1268:Synopsis (1744 version)
1153:Synopsis (1739 version)
462:Wolf Trap Opera Company
345:on 14 January 1740) by
131:with a French-language
2672:French-language operas
2604:In convertendo Dominus
2389:Le temple de la Gloire
2009:, accessed 9 July 2017
1294:
1254:Anténor est victorieux
1137:and other percussion,
672:Marie-Angélique Coupé
550:Obéis aux lois d'Enfer
543:accompanied recitative
474:Royal Academy of Music
383:Simon-Joseph Pellegrin
173:, and ancestor of the
92:Greek myth of Dardanus
2636:Querelle des Bouffons
2485:La naissance d'Osiris
2381:Les fĂŞtes de Polymnie
2209:, Horvallis 2003-2010
2030:Sadler (1993), p. 836
1962:Dizionario dell'opera
1866:Bouissou, pp. 485-486
1687:Sadler (1993), p. 836
1669:Sadler (1993), p. 837
1651:Sadler (1980), p. 227
1615:Bouissou, pp. 476-481
1606:Bouissou, pp. 475-476
1523:Christiane Eda-Pierre
1292:
506:English Touring Opera
219:had been followed by
2682:Tragédies en musique
2308:List of compositions
2285:Jean-Philippe Rameau
2219:New York: OUP: 1992
2109:Cuthbert Girdlestone
1540:Video (1739 version)
1456:Tassis Christoyannis
1443:, Ensemble Pygmalion
1401:Audio (1744 version)
1319:Audio (1739 version)
1183:In the opening aria
848:Jean-Antoine BĂ©rard
785:Jean-Antoine BĂ©rard
526:Cuthbert Girdlestone
410:Pierre Montan Berton
406:Carceri d'invenzione
351:Jean des Dardanelles
347:Charles-Simon Favart
289:tragédies en musique
129:Jean-Philippe Rameau
52:Jean-Philippe Rameau
2397:Les fĂŞtes de Ramire
2325:Hippolyte et Aricie
2179:Mellace, Raffaele,
1938:Girdlestone, p. 265
1920:Girdlestone, p. 256
1857:Girdlestone, p. 235
1764:on 27 February 2014
1714:Girdlestone, p. 236
1633:Girdlestone, p. 235
1507:Frederica von Stade
1109:with the following
1086:not in 1739 version
1059:not in 1739 version
1037:not in 1739 version
1021:not in 1744 version
999:not in 1744 version
991:David Dumoulin and
976:not in 1744 version
578:Hippolyte et Aricie
528:rated it alongside
371:Hippolyte et Aricie
279:tragédie en musique
204:Hippolyte et Aricie
199:Jean-Baptiste Lully
142:tragédie en musique
32:Dardanus (Sacchini)
2578:Pièces de Clavecin
2333:Les Indes galantes
2131:Viking Opera Guide
1824:"Rameau: Dardanus"
1678:Girdlestone, p.236
1295:
1105:The opera uses an
911:Dancing characters
700:daughter of Teucer
598:Les Indes galantes
398:René-Michel Slodtz
375:Les Indes galantes
341:(premiered at the
222:Les Indes galantes
64:Portrait of Rameau
2659:
2658:
2461:Acante et CĂ©phise
2171:978-0-19-522186-2
2140:Lajarte, Théodore
2101:Sylvie Bouissou,
1960:Sources: Sadler;
1789:, 6 November 2009
1642:Bouissou, p. 1054
1624:Bouissou, 480-485
1591:
1590:
1537:
1536:
1505:Georges Gautier,
1470:
1469:
1433:Bernard Richter,
1398:
1397:
1364:Mireille Delunsch
1352:John Mark Ainsley
1098:
1097:
934:Phrygian warriors
904:
903:
764:François Le Page
750:François Le Page
512:Theatre, London.
343:Comédie-Italienne
339:Arlequin Dardanus
149:premiered at the
120:
119:
16:(Redirected from
2709:
2651:
2650:
2614:Related articles
2518:Nélée et Myrthis
2349:Les fêtes d'Hébé
2341:Castor et Pollux
2278:
2271:
2264:
2255:
2254:
2239:: Scores at the
2215:and West, Ewan,
2192:
2178:
2157:Sadler, Graham,
2152:Internet Archive
2138:
2100:
2079:
2074:
2068:
2067:
2051:
2045:
2044:
2037:
2031:
2028:
2022:
2016:
2010:
2004:
1998:
1987:
1981:
1971:
1965:
1958:
1952:
1945:
1939:
1936:
1930:
1927:
1921:
1918:
1912:
1911:Bouissou, p. 506
1909:
1903:
1900:
1894:
1893:Bouissou, p. 501
1891:
1885:
1882:
1876:
1875:Bouissou, p. 496
1873:
1867:
1864:
1858:
1855:
1849:
1846:
1840:
1837:
1831:
1821:
1815:
1814:
1812:
1810:
1796:
1790:
1780:
1774:
1773:
1771:
1769:
1754:
1748:
1745:
1739:
1734:
1728:
1721:
1715:
1712:
1706:
1703:
1697:
1696:Beaussant, p. 45
1694:
1688:
1685:
1679:
1676:
1670:
1667:
1661:
1660:Bouissou, p. 509
1658:
1652:
1649:
1643:
1640:
1634:
1631:
1625:
1622:
1616:
1613:
1607:
1604:
1544:
1543:
1477:
1476:
1405:
1404:
1323:
1322:
1293:Dardanus' prison
1071:(1744 version):
1052:(1744 version):
1030:(1744 version):
906:
905:
805:A Phrygian woman
693:Pierre JĂ©lyotte
620:
619:
530:Les fêtes d'Hébé
418:Antonio Sacchini
259:Les fêtes d'Hébé
239:Les fêtes d'Hébé
228:Castor et Pollux
109:
107:
62:
48:Tragédie lyrique
39:
38:
21:
2717:
2716:
2712:
2711:
2710:
2708:
2707:
2706:
2662:
2661:
2660:
2655:
2641:
2609:
2591:
2565:
2538:
2497:
2469:Daphnis et Eglé
2312:
2287:
2282:
2233:
2190:
2176:
2136:
2098:
2088:
2083:
2082:
2075:
2071:
2053:
2052:
2048:
2039:
2038:
2034:
2029:
2025:
2017:
2013:
2005:
2001:
1988:
1984:
1972:
1968:
1959:
1955:
1946:
1942:
1937:
1933:
1928:
1924:
1919:
1915:
1910:
1906:
1901:
1897:
1892:
1888:
1883:
1879:
1874:
1870:
1865:
1861:
1856:
1852:
1847:
1843:
1838:
1834:
1822:
1818:
1808:
1806:
1798:
1797:
1793:
1781:
1777:
1767:
1765:
1756:
1755:
1751:
1746:
1742:
1735:
1731:
1722:
1718:
1713:
1709:
1704:
1700:
1695:
1691:
1686:
1682:
1677:
1673:
1668:
1664:
1659:
1655:
1650:
1646:
1641:
1637:
1632:
1628:
1623:
1619:
1614:
1610:
1605:
1601:
1596:
1562:
1560:
1558:
1553:
1551:
1542:
1528:Raymond Leppard
1493:
1491:
1486:
1484:
1475:
1466:Glossa (3 CDs)
1461:György Vashegyi
1421:
1419:
1414:
1412:
1403:
1339:
1337:
1332:
1330:
1321:
1316:
1307:
1287:
1278:
1270:
1251:
1246:
1234:
1229:
1218:
1213:
1202:
1197:
1182:
1177:
1169:
1160:
1155:
1111:instrumentation
1103:
1101:Instrumentation
1093:
1091:
1079:
1075:
968:Phrygian people
708:Marie PĂ©lissier
689:Pierre JĂ©lyotte
635:
630:
618:
518:
486:Emmanuelle HaĂŻm
451:Raymond Leppard
439:Schola Cantorum
432:
430:Modern revivals
363:
192:
187:
127:is an opera by
116:
115:
110:
105:
103:
65:
35:
28:
23:
22:
15:
12:
11:
5:
2715:
2705:
2704:
2699:
2694:
2689:
2684:
2679:
2674:
2657:
2656:
2646:
2643:
2642:
2640:
2639:
2632:
2625:
2617:
2615:
2611:
2610:
2608:
2607:
2599:
2597:
2593:
2592:
2590:
2589:
2581:
2573:
2571:
2567:
2566:
2564:
2563:
2559:Lisis et DĂ©lie
2555:
2547:
2539:
2530:
2529:(date unknown)
2522:
2521:(date unknown)
2514:
2506:
2498:
2489:
2481:
2473:
2465:
2457:
2449:
2441:
2433:
2425:
2417:
2409:
2401:
2393:
2385:
2377:
2369:
2361:
2353:
2345:
2337:
2329:
2320:
2318:
2314:
2313:
2311:
2310:
2305:
2304:
2303:
2296:List of operas
2292:
2289:
2288:
2281:
2280:
2273:
2266:
2258:
2252:
2251:
2247:Rameau Le Site
2243:
2232:
2231:External links
2229:
2228:
2227:
2210:
2206:Rameau Le Site
2202:
2188:
2174:
2155:
2134:
2123:
2116:
2106:
2105:(Fayard, 2014)
2096:
2087:
2084:
2081:
2080:
2069:
2046:
2032:
2023:
2011:
1999:
1982:
1966:
1953:
1940:
1931:
1922:
1913:
1904:
1895:
1886:
1877:
1868:
1859:
1850:
1841:
1832:
1828:Hackney Empire
1816:
1791:
1787:Quartier Libre
1785:, supplement:
1783:Le bien public
1775:
1749:
1740:
1729:
1716:
1707:
1698:
1689:
1680:
1671:
1662:
1653:
1644:
1635:
1626:
1617:
1608:
1598:
1597:
1595:
1592:
1589:
1588:
1585:
1579:
1576:Florian Sempey
1572:
1568:
1567:
1564:
1555:
1548:
1541:
1538:
1535:
1534:
1531:
1525:
1511:Michael Devlin
1503:
1499:
1498:
1495:
1488:
1481:
1474:
1471:
1468:
1467:
1464:
1458:
1452:
1448:
1447:
1446:Alpha (2 CDs)
1444:
1441:Raphaël Pichon
1438:
1431:
1427:
1426:
1423:
1416:
1409:
1402:
1399:
1396:
1395:
1392:
1389:
1383:
1379:
1378:
1376:Lieux funestes
1372:
1369:Marc Minkowski
1366:
1360:Laurent Naouri
1356:VĂ©ronique Gens
1349:
1345:
1344:
1341:
1334:
1327:
1320:
1317:
1315:
1312:
1306:
1303:
1299:Lieux funestes
1286:
1283:
1277:
1274:
1269:
1266:
1245:
1242:
1228:
1225:
1221:Ă” jour affreux
1212:
1209:
1196:
1193:
1176:
1173:
1159:
1156:
1154:
1151:
1141:(with divided
1102:
1099:
1096:
1095:
1088:
1083:
1065:
1064:
1061:
1056:
1046:
1045:
1039:
1034:
1032:Phrygian women
1024:
1023:
1018:
1012:
1008:(1739 only) -
1002:
1001:
996:
989:
979:
978:
973:
970:
960:
959:
956:
953:
943:
942:
939:
936:
926:
925:
922:
919:
915:
914:
902:
901:
890:
889:
887:
885:
882:
876:
875:
870:
864:
863:bass-baritone
861:
855:
854:
849:
846:
841:
835:
834:
829:
826:
823:
817:
816:
813:
810:
807:
801:
800:
798:
796:
795:bass-baritone
793:
791:A Phrygian man
787:
786:
783:
778:
773:
769:
768:
765:
762:
761:bass-baritone
759:
752:
751:
748:
745:
744:bass-baritone
742:
735:
734:
731:
728:
723:
716:
715:
710:
705:
702:
695:
694:
691:
686:
681:
674:
673:
670:
667:
664:
656:
655:
650:
647:
642:
638:
637:
632:
629:Premiere cast,
627:
624:
617:
614:
605:Lieux funestes
517:
514:
510:Hackney Empire
502:Harmonia Mundi
494:Raphaël Pichon
470:Pinchgut Opera
455:Marc Minkowski
443:Opéra de Dijon
431:
428:
394:Sophie Arnould
362:
359:
191:
188:
186:
183:
118:
117:
111:
101:
99:
95:
94:
89:
85:
84:
81:
77:
76:
71:
67:
66:
63:
55:
54:
44:
43:
26:
18:Dardanus opera
9:
6:
4:
3:
2:
2714:
2703:
2700:
2698:
2695:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2675:
2673:
2670:
2669:
2667:
2654:
2644:
2638:
2637:
2633:
2631:
2630:
2626:
2624:
2623:
2619:
2618:
2616:
2612:
2606:
2605:
2601:
2600:
2598:
2594:
2587:
2586:
2582:
2580:
2579:
2575:
2574:
2572:
2568:
2561:
2560:
2556:
2553:
2552:
2548:
2545:
2544:
2540:
2536:
2535:
2531:
2528:
2527:
2523:
2520:
2519:
2515:
2513:(unperformed)
2512:
2511:
2507:
2504:
2503:
2499:
2495:
2494:
2490:
2487:
2486:
2482:
2479:
2478:
2477:Les sibarites
2474:
2471:
2470:
2466:
2463:
2462:
2458:
2455:
2454:
2450:
2447:
2446:
2442:
2439:
2438:
2434:
2431:
2430:
2426:
2423:
2422:
2418:
2415:
2414:
2410:
2407:
2406:
2402:
2399:
2398:
2394:
2391:
2390:
2386:
2383:
2382:
2378:
2375:
2374:
2370:
2367:
2366:
2362:
2359:
2358:
2354:
2351:
2350:
2346:
2343:
2342:
2338:
2335:
2334:
2330:
2327:
2326:
2322:
2321:
2319:
2315:
2309:
2306:
2302:
2299:
2298:
2297:
2294:
2293:
2290:
2286:
2279:
2274:
2272:
2267:
2265:
2260:
2259:
2256:
2250:
2248:
2244:
2242:
2238:
2235:
2234:
2226:
2225:0-19-869164-5
2222:
2218:
2214:
2213:Warrack, John
2211:
2208:
2207:
2203:
2201:
2200:
2196:
2189:
2186:
2182:
2175:
2172:
2168:
2164:
2160:
2156:
2153:
2149:
2145:
2141:
2135:
2132:
2128:
2124:
2121:
2117:
2114:
2110:
2107:
2104:
2097:
2094:
2090:
2089:
2078:
2073:
2065:
2061:
2060:
2056:
2050:
2042:
2036:
2027:
2020:
2015:
2008:
2003:
1996:
1992:
1986:
1980:
1979:bass-baritone
1976:
1970:
1963:
1957:
1950:
1944:
1935:
1926:
1917:
1908:
1899:
1890:
1881:
1872:
1863:
1854:
1845:
1836:
1829:
1825:
1820:
1805:
1801:
1795:
1788:
1784:
1779:
1763:
1759:
1753:
1744:
1738:
1733:
1726:
1720:
1711:
1702:
1693:
1684:
1675:
1666:
1657:
1648:
1639:
1630:
1621:
1612:
1603:
1599:
1586:
1584:
1580:
1577:
1573:
1570:
1569:
1566:Label, Notes
1565:
1556:
1549:
1546:
1545:
1532:
1529:
1526:
1524:
1520:
1516:
1512:
1508:
1504:
1501:
1500:
1497:Label, Notes
1496:
1489:
1482:
1479:
1478:
1465:
1462:
1459:
1457:
1453:
1450:
1449:
1445:
1442:
1439:
1436:
1435:Gaëlle Arquez
1432:
1429:
1428:
1425:Label, Notes
1424:
1417:
1410:
1407:
1406:
1393:
1390:
1387:
1384:
1381:
1380:
1377:
1373:
1370:
1367:
1365:
1361:
1357:
1353:
1350:
1347:
1346:
1343:Label, Notes
1342:
1335:
1328:
1325:
1324:
1311:
1302:
1300:
1291:
1282:
1273:
1265:
1263:
1259:
1255:
1250:
1241:
1239:
1233:
1224:
1222:
1217:
1208:
1206:
1201:
1192:
1190:
1186:
1181:
1172:
1168:
1166:
1150:
1148:
1144:
1140:
1136:
1132:
1128:
1124:
1120:
1116:
1112:
1108:
1094:Mlle Puvigné
1089:
1087:
1084:
1082:
1081:A Shepherdess
1078:
1074:
1070:
1067:
1066:
1062:
1060:
1057:
1055:
1051:
1048:
1047:
1043:
1040:
1038:
1035:
1033:
1029:
1026:
1025:
1022:
1019:
1016:
1013:
1011:
1007:
1004:
1003:
1000:
997:
994:
990:
988:
985:(1739 only):
984:
981:
980:
977:
974:
971:
969:
966:(1739 only):
965:
962:
961:
957:
954:
952:
948:
945:
944:
940:
937:
935:
931:
928:
927:
923:
920:
917:
916:
913:
912:
907:
900:
896:
891:
888:
886:
883:
881:
878:
877:
874:
871:
869:
865:
862:
860:
857:
856:
853:
850:
847:
845:
842:
840:
837:
836:
833:
830:
827:
824:
822:
819:
818:
814:
811:
808:
806:
803:
802:
799:
797:
794:
792:
789:
788:
784:
782:
779:
777:
774:
771:
770:
766:
763:
760:
758:
754:
753:
749:
746:
743:
741:
737:
736:
732:
729:
727:
726:bass-baritone
724:
722:
718:
717:
714:
711:
709:
706:
703:
701:
697:
696:
692:
690:
687:
685:
682:
680:
676:
675:
671:
668:
665:
662:
658:
657:
654:
651:
648:
646:
643:
640:
639:
636:1744 version
633:
631:1739 version
628:
625:
622:
621:
613:
610:
606:
601:
599:
595:
591:
587:
583:
579:
575:
574:
569:
568:
563:
559:
555:
551:
547:
544:
539:
534:
531:
527:
523:
513:
511:
507:
503:
499:
495:
491:
487:
483:
479:
475:
471:
467:
463:
458:
456:
452:
448:
444:
440:
436:
427:
425:
424:
419:
415:
411:
407:
403:
399:
395:
390:
388:
384:
380:
376:
372:
368:
361:1744 revision
358:
356:
352:
348:
344:
340:
336:
332:
328:
324:
322:
318:
314:
310:
309:
304:
300:
299:
294:
290:
286:
285:
280:
276:
272:
268:
264:
260:
256:
251:
249:
245:
241:
240:
236:
235:
230:
229:
224:
223:
218:
214:
210:
206:
205:
200:
196:
190:1739 premiere
182:
180:
176:
172:
168:
165:, the son of
164:
159:
157:
152:
148:
144:
143:
138:
134:
130:
126:
125:
114:
100:
96:
93:
90:
86:
82:
78:
75:
72:
68:
61:
56:
53:
49:
45:
40:
37:
33:
19:
2634:
2627:
2620:
2602:
2583:
2576:
2570:Instrumental
2562:(music lost)
2557:
2554:(music lost)
2549:
2546:(music lost)
2541:
2532:
2524:
2516:
2510:Les Boréades
2508:
2502:Les Paladins
2500:
2491:
2483:
2475:
2467:
2459:
2453:La guirlande
2451:
2443:
2435:
2427:
2419:
2411:
2403:
2395:
2387:
2379:
2371:
2363:
2356:
2355:
2347:
2339:
2331:
2323:
2246:
2216:
2205:
2198:
2194:
2184:
2180:
2177:(in Italian)
2162:
2159:Dardanus (i)
2158:
2147:
2143:
2130:
2126:
2119:
2112:
2102:
2092:
2072:
2057:
2049:
2035:
2026:
2018:
2014:
2006:
2002:
1994:
1985:
1975:basse-taille
1974:
1969:
1961:
1956:
1948:
1943:
1934:
1925:
1916:
1907:
1898:
1889:
1880:
1871:
1862:
1853:
1844:
1835:
1819:
1807:. Retrieved
1803:
1794:
1786:
1782:
1778:
1766:. Retrieved
1762:the original
1752:
1743:
1736:
1732:
1724:
1719:
1710:
1701:
1692:
1683:
1674:
1665:
1656:
1647:
1638:
1629:
1620:
1611:
1602:
1519:José van Dam
1375:
1308:
1298:
1296:
1279:
1271:
1257:
1253:
1248:
1247:
1237:
1231:
1230:
1220:
1215:
1214:
1204:
1199:
1198:
1184:
1179:
1178:
1162:
1161:
1104:
1085:
1080:
1076:
1072:
1068:
1058:
1053:
1049:
1036:
1031:
1027:
1020:
1009:
1005:
998:
986:
982:
975:
967:
963:
950:
946:
933:
929:
910:
909:
898:
879:
872:
867:
858:
851:
844:haute-contre
843:
839:Second Dream
838:
831:
820:
804:
790:
780:
776:haute-contre
775:
756:
739:
720:
699:
684:haute-contre
678:
604:
602:
597:
585:
581:
577:
571:
565:
561:
557:
549:
545:
537:
535:
529:
521:
519:
477:
476:also staged
459:
434:
433:
421:
405:
391:
386:
378:
374:
373:in 1742 and
370:
366:
364:
350:
338:
334:
330:
326:
325:
320:
316:
312:
306:
296:
288:
284:opéra-ballet
282:
278:
274:
270:
266:
258:
254:
252:
247:
243:
237:
234:opéra-ballet
232:
226:
225:in 1735 and
220:
216:
208:
202:
194:
193:
160:
155:
146:
140:
123:
122:
121:
36:
2692:1739 operas
2301:Lost operas
2191:(in French)
2137:(in French)
2099:(in French)
1768:12 February
1515:Roger Soyer
1147:harpsichord
1015:Louis Dupré
993:Marie Sallé
987:Air spirits
859:Third Dream
821:First Dream
626:Voice type
594:Girdlestone
538:merveilleux
449:. In 1980,
400:, imitated
301:(1730) and
179:King Teucer
151:Paris Opéra
113:Paris Opera
2666:Categories
1594:References
1583:Michel Fau
1561:Orchestra,
1557:Conductor,
1494:Orchestra
1490:Conductor,
1422:Orchestra
1418:Conductor,
1386:Paul Agnew
1340:Orchestra
1336:Conductor,
1314:Recordings
1077:A Pleasure
1042:La Camargo
924:1744 cast
921:1739 cast
897:, Dreams:
880:A Pleasure
866:Jean Dun,
828:Marie Fel
815:Marie Fel
812:Marie Fel
757:a magician
747:M. Albert
677:Dardanus,
562:symphonies
554:homophonic
303:Montéclair
106:1739-11-19
70:Librettist
2445:Zoroastre
2429:Pigmalion
1989:Sources:
1804:medici.tv
1563:Director
1107:orchestra
995:(Dreams)
951:Magicians
895:Phrygians
755:Isménor,
738:Anténor,
659:L'Amour (
653:Marie Fel
609:obbligato
590:arpeggios
426:in 1784.
387:Hippolyte
331:Lullistes
248:lullistes
217:Hippolyte
213:Louis XIV
209:lullistes
2653:Category
2496:(1754)
2493:Anacréon
2357:Dardanus
2199:Dardanus
2197:page on
2181:Dardanus
2148:ad nomen
2127:Dardanus
2093:Dardanus
2064:Archived
1559:Chorus,
1492:Chorus,
1420:Chorus,
1338:Chorus,
1262:chaconne
1158:Prologue
1131:trumpets
1127:bassoons
1115:piccolos
1092:M. Dupré
884:soprano
873:role cut
852:role cut
832:role cut
825:soprano
809:soprano
719:Teucer,
704:soprano
698:Iphise,
666:soprano
582:Dardanus
567:berceuse
522:Dardanus
478:Dardanus
435:Dardanus
423:Dardanus
402:Piranesi
379:Dardanus
367:Dardanus
335:Dardanus
327:Dardanus
313:Dardanus
275:Dardanus
271:Dardanus
267:Dardanus
263:Voltaire
255:Dardanus
244:Dardanus
195:Dardanus
163:Dardanus
156:Dardanus
147:Dardanus
133:libretto
124:Dardanus
98:Premiere
88:Based on
80:Language
42:Dardanus
2526:ZĂ©phire
2129:in the
2086:Sources
2059:YouTube
1991:Lajarte
1189:Jupiter
1165:Cythera
1139:strings
1135:timpani
645:soprano
586:tempĂŞte
558:sommeil
447:Algiers
317:Pyrrhus
298:Pyrrhus
175:Trojans
171:Electra
104: (
2687:Operas
2596:Choral
2588:(1741)
2543:Samson
2505:(1760)
2488:(1754)
2480:(1753)
2472:(1753)
2464:(1751)
2456:(1751)
2448:(1749)
2440:(1749)
2432:(1748)
2424:(1748)
2416:(1748)
2408:(1747)
2400:(1745)
2392:(1745)
2384:(1745)
2376:(1745)
2373:Platée
2368:(1745)
2360:(1739)
2352:(1739)
2344:(1737)
2336:(1735)
2328:(1733)
2317:Operas
2223:
2169:
1993:, and
1809:8 July
1143:violas
1119:flutes
1073:Graces
918:Roles
772:Arcas
740:a king
721:a king
641:VĂ©nus
573:Persée
482:London
321:Jephté
308:Jephté
83:French
2551:Linus
1547:Year
1480:Year
1408:Year
1326:Year
1305:Act 5
1285:Act 4
1276:Act 3
1244:Act 5
1227:Act 4
1211:Act 3
1195:Act 2
1175:Act 1
1123:oboes
1069:Act 5
1050:Act 4
1028:Act 3
1006:Act 5
983:Act 4
964:Act 3
947:Act 2
930:Act 1
899:choir
661:Cupid
634:Cast,
623:Role
616:Roles
580:. In
516:Music
293:Royer
2437:NaĂŻs
2413:ZaĂŻs
2221:ISBN
2167:ISBN
1973:The
1811:2017
1770:2014
1571:2016
1550:Cast
1502:1981
1483:Cast
1451:2021
1430:2013
1411:Cast
1382:2007
1348:2000
1329:Cast
1129:, 2
1125:, 2
1121:, 2
1117:, 2
1113:: 2
868:fils
349:and
281:and
169:and
167:Zeus
1826:on
1145:),
600:."
480:in
420:'s
353:by
305:'s
295:'s
291::
135:by
50:by
2668::
2534:Io
2142:,
2111:,
2062:.
1802:.
1521:,
1517:,
1513:,
1509:,
1358:,
1354:,
1264:.
1149:.
1133:,
949:-
932:-
663:)
592:.
2277:e
2270:t
2263:v
2173:)
2154:)
2095:.
2043:.
1964:.
1813:.
1772:.
1236:(
1167:.
108:)
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
